
American Dramatists Series 



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COPYRIGHT DEPOSIT. 



American Dramatists Series 

THE 
MAN YOU LOVE 

A Play in Four Acts 

ROBERT A. KASPER 




BOSTON: RICHARD G. BADGER 

TORONTO: THE COPP CLARK CO., LIMITED 



Copyright, 1914, by Robert A. Kasper 



Dramatic and all Other Rights Reserved 



T5 3^^ 



'3 



The Gorham Press, Boston, U. S. A. 



JUL "2 1914 



CI.D 37449 



^ 



To My Father and Mother 

Mr. and Mrs. P. J. Rasper 

With all love and affection 

I dedicate this play 



CAST: 

Frank Gilmore, General Manager Western Rail- 
road. 
Mrs. Gilmore, his wife. 



Florence, 1 , • i ,. 
Marie. / "'"'' daughters. 



Jane, their ?naid. 

Edward Monroe, President Western Railroad. 

John Simms, General Superintendent Western 

Railroad. 
Michael Murphy, Superintendent of Machinery 

Western Railroad. 
Elbert Worthing, State's Attorney. 
William Worthing, his son. 
Jordan Carroll. 
Richard Herne. 
Arthur Stone. 



ACT I. 

Library in the Gilmore home. 5 p. m. 

ACT II. 

Same. One week later. Evening. 

ACT III. 

Same. A few minutes later. 

ACT IV. 

Same. A few days later. Evening. 

Time — The present. Place — Any large city. 



SETTING: 



A very elaborate library scene. Drapery-hung 
doors center and right. Library table center. Tele- 
phone on table and chairs right and left of table. 
Stool before library chair right of center. Bookcase 
along back wall, right. Small table back left and 
phonograph on table. Fireplace set in left wall. 
Davenport near fireplace. Other accessories about 
the room. 



THE MAN YOU LOVE 

ACT I. 

Library in the Gilmore home. 5 p. m. 

(The curtain rises upon an empty stage. A slight 
pause when the telephone bell rings. Jane enters 
right, crosses to table center and takes receiver off 
hook.) 

JANE. 

(At 'phone.) 

Hello.— The editor of The Tribune?— Mr. Gil- 
more is not in. — Yes, Mrs. Gilmore is here. — Just a 
moment, please. 

(Puts down receiver nnd exits right. A slight 
pause.) 

MRS. GILMORE. 

(Enters right, crosses to table center and takes up 
receiver. Mrs. Gilmore is forty years of age.) 

(At 'phone.) 

Yes. — Mr. Gilmore is not here. — He didn't re- 
9 



10 THE MAN YOU LOVE 

sign. (Thoughtfully) That is, (Lightly) well, I'm 
sure because he hasn't said a word to me. — You may 
reach him here in about an hour. 

(Puts up receiver. Mr. Gilmore enters door 
center. He is forty-five years of age and appears 
worried.) 

(To husband.) 

You're early, dear. 

('Phone bell rings.) 

(Mrs. Gilmore expects husband to answer 'phone.) 

GILMORE. 

If that's a paper say I'm not here. 

MRS. GILMORE. 
Deary, I don't understand. 

GILMORE. 
Please, dear. 
('Phone bell rings again.) 

MRS. GILMORE. 
But I don't want to tell a falsehood. 



ACT I 11 

GILMORE. 

(Impatiently.) 

Don't be silly, rm not here for the paper. 

MRS. GILMORE. 

(Hesitates, then crosses to 'phone as 'phone bell 
rings again.) 

(At 'phone.) 

Hello. — The Examiner? — Mr. Gilmore is not in. 

(Hangs up receiver.) 

(To husband.) 

That is the second call about your resignation. 
What does it mean? 

GILMORE. 
(Hesitatingly.) 
It means I — I did resign. 

MRS. GILMORE. 
(Sadly.) 
Frank, without consulting me? 



12 THE MAN YOU LOVE 

GILMORE. 

I made up my mind rather suddenly. That Is — . 

MRS. GILMORE. 

Why do you hesitate? 

GILMORE. 

Well, — I didn't exactly give up my position. I 
lost it. 

MRS. GILMORE. 

You lost it! Why? 

GILMORE. 

I supported a political enemy of the Western at 
the last election. Burnham, who had given an ad- 
verse decision to the road. You remember. 

MRS. GILMORE. 

Yes. — Oh, it's unjust after you have worked so 
hard all these years. 

(Crosses close to him.) 

I'll share this disappointment with you, as we 
have shared disappointments in the past. 



ACT I 13 

GILMORE. 

I don't know what I'd do without you. You're 
everything to me. 

MRS. GILMORE. 

(With sigh.) 

I suppose the papers will make a big story of it 
and intimate all sorts of things. 

GILMORE. 

Perhaps. But don't you mind, dear. 

MRS. GILMORE. 

I do. We must consider our children. We must 
leave them their heritage, a good name, so that when 
we are gone, they will not regret they were given in 
our care. 

GILMORE. 

You make me feel as though I had done some- 
thing wrong. 

MRS. GILMORE. 

You couldn't, dear. You're too strong a charac- 
ter, and I love you, oh so much! 



14 THE MAN YOU LOVE 

(She puts her arms about him and kisses him. 
Gilmore is thoughtful.) 

(Marie, their eight-year-old daughter, enters 
center. She has her school books in hand. Gilmore 
brightens at sight of child.) 

MARIE. 

Hello, daddy. 

(Rushes to her father.) 

GILMORE. 

Hello, dear. 

(Marie throws herself in her father s arms. He 
raises her off her feet and kisses her; then puts her 
down.) 

MARIE. 

That was a stingy one, daddy. I'll bet you and 
mamsy have used up all your kisses. 

(Father and mother smile.) 

(Gilmore kisses child as before, raising her off her 
feet, then putting her down.) 

(Marie rushes to her mQther.) 

Hello, mamsy. 



ACT I 15 

MRS. GILMORE. 

V^ou're a naughty girl, not coming right home 
from school. 

(Kisses child.) 

MARIE. 

Walter Mason and I were watching the circus 
parade, and oh it was grand! 

MRS. GILMORE. 

You shouldn't worry mother. 
MARIE. 

I won't mamsy. — And, daddy, we're going to see 
the circus. 

(Crosses to father.) 

GILMORE. 

We won't go to-night, dear. 

MARIE. 

You promised, daddy. 

(Mrs. Gilmore indicates by action husband should 
go with Marie.) 



1 6 THE MAN YOU LOVE 

GILMORE. 

All right, dear. 

MARIE, 

I'm so glad, daddy. 

GILMORE. 

(Seats himself left of table. Marie sits on her 
father s lap and kisses him. Gilmore looks lovingly 
at child. Mrs. Gilmore seats herself right of table.) 

What did my little girl learn to-day at school ? 

MARIE, 

I didn't learn so much, daddy, 'cause teacher was 
awful cross and didn't teach at all; just let us draw 
pictures and read stories. 

MRS. GILMORE. 

Were the boys tormenting her, dear? 

MARIE. 

Oh, no, mamsy. She was cross and cranky when 
she came. Willie Smith said some feller throwed 
her down, and when I asked him why teacher didn't 
go to the hospital like auntie did when she fell, he 
just laughed and told some of the other boys, and 
they laughed too. 



ACT I 17 

(Father and mother smile.) 

CPhone bell rings. Gilmore indicates to his wife 
she should answer 'phone.) 

(Mrs. Gilmore reaches for 'phone.) 

GILMORE. 

(To wife.) 

Remember, dear. I'll speak to no papers. 

MARIE. 

Why, daddy? 

MRS. GILMORE. 

(Indicates to Marie she should keep quiet. Marie 
puts her hand over her mouth.) 

('Phone bell rings.) 

(To husband.) 

Don't you think you'd better answer and explain ? 

GILMORE. 

Please answer. 

(Marie looks puzzled,) 



1 8 THE MAN YOU LOVE 

MRS. GILMORE. 

(Takes up receiver.) 
(At 'phone.) 

Hello. — The editor of The Sun? — Mr. Gilmore 

is not here. 

iit> ''reiver.) 

MARIE. 

Why, mamsy? He is so! 

MRS. GILMORE. 
Papa isn't here for the newspapers, dear. 

MARIE. 
But you didn't say that, mamsy. 

GILMORE. 
That's what mother meant, dear. 
(Marie looks puzzled.) 
(Gilmore raises Marie off his lap.) 
(To Marie.) 



ACT I 19 

Come. We'll get ready for dinner. 

(Takes her hand.) 

(Marie still looks puzzled. She crosses with 
father to exit right. As they cross, Marie speaks.) 

MARIE. 

Mamsy didn't fib, daddy? 

GILMORE. 

Of course not, dear. 

MARIE. 

I'm glad she didn't, 'cause I know she'd scold me 
if I did, and I don't want to have to scold her. 

(Gilmore and Marie exit right.) 

(Florence Gilmore and William Worthing enter 
center. Florence is twenty years of age; William is 
twenty-three.) 

MRS. GILMORE. 

Hello, children. How did you like the show? 

FLORENCE. 
Dandy, mother. Lewis Waller was just fine. 



20 THE MAN YOU LOVE 

WILLIAM. 

And his leading woman, a peach. She's got me 
all right. 

(Florence assumes offended attitude and crosses 
right. Neither mother nor William, who stand cen- 
ter, notice her.) 

(To Mrs. Gilmore.) 

Guess who sat in a box. 

MRS. GILMORE. 

Who? 

WILLIAM. 

Mrs. Farnum. 

MRS. GILMORE. 

You don't say. How did she look? 

WILLIAM. 

Scrumptious. Her divorce seems to have agreed 
with her. 

MRS. GILMORE. 

Shame on you talking that way, Will. 



ACT I 21 

WILLIAM. 

That's what I thought. No use being a hypo- 
crite, is there, Flo? 

(fVilliam turns to Florence and notices her of- 
fended attitude. Florence does not answer Wil- 
liarns question. She stands sulking.) 

(To Florence.) 

Well, what happened you? 

FLORENCE. 

(Drawl.) 

Oh, nothing. 

WILLIAM. 

Then answer my question. 

(Florence looks down and is sulky.) 

MRS. GILMORE. 

Don't quarrel, children. — I guess I'd better leave 
you two alone. — ^You'll stay to dinner, Will? 

WILLIAM. 

Thank you. Some other time. I have an engage- 
ment with father. 



22 THE MAN YOU LOVE 

MRS. GILMORE. 

Remember me to your father, and remind him he 
hasn't been to see Mr. Gilmore and myself for a 
long time. I don't believe he ever let a week pass 
without calling since Mr. Gilmore and I were mar- 
ried, except immediately after your mother died. 

WILLIAM. 

Father has been very busy of late. I'll tell him 
what you said. 

MRS. GILMORE. 

Don't forget. Good-bye, Will. 

(Crosses to exit right.) 

WILLIAM. 

Good-bye, Mrs. Gilmore. 

MRS. GILMORE. 

(At exit right; turns.) 

Oh, Florence. If any newspapers call, father is 
not here. 

FLORENCE. 

Yes, mother. 



ACT I 23 

(Mrs. Gilmore exits right. Immediately she has 
made her exit, Florence looks off stage right to make 
sure her mother has gone, then crosses to William 
and confronts him.) 

So the leading woman has you going? 

(JVilliam looks upon Florence seriously for a 
moment, then of a sudden laughs heartily.) 

That's right, laugh. You may think it's funny, 
but I don't see the joke. 

WILLIAM. 

(Laughs.) 

They say woman lacks a sense of humor. Perhaps 
yours needs fixing. 

(Laughs.) 



FLORENCE. 

It's my head needs fixing, falling in love with a 
base deceiver like you. You are a base deceiver. 
Just like the rest of the men. You make a woman 
think you're head over heels in love with her, and 
then when you have her in your grasp, you pull the 
string and . 

WILLIAM. 

(Interrupts.) 

Bunty does the rest. 



'^4 THE MAN YOU LOVE 

FLORENCE, 

Oh, you — ^you're all alike. 

IVILLUM, 

(Laughs.) 

So that's why you were sulky. 

(Laughs.) 

I'll have to tell your mother. 

(Crosses to exit right as though to carry out his 
threat, but Florence intercepts him.) 

FLORENCE. 

If you do, I'll never speak to you again. 

WILLIAM, 
And if I don't? 

FLORENCE, 
(Pause,) 

(Regards William.) 
Honest, now, did you mean what you said? 



ACT I 25 

(William looks at Florence and smiles. They are 
standing together right of center.) 

Tell me, Billy, did you ? 

WILLIAM. 

( Tan talizingly .) 

I'm not a base deceiver? 

FLORENCE. 

(Pause.) 

Well, no, not if . 

(She does not finish and looks down.) 

WILLIAM. 

(Smiles contentedly.) 

Of course, I didn't mean it, Flo, and you're a silly 
girl to think I did. 

(Marie enters right. She stands before entrance 
watching the two lovers. William takes Florence 
in his arms and kisses her. Marie watches the pro- 
ceedings, then holds her hand over her mouth to 
suppress a laugh, which is heard despite her effort to 
prevent it. Marie retreats hurriedly right when the 
lovers turn and discover her.) 



26 THE MAN YOU LOVE 

(William and Florence look after Marie as she 
exits right laughing. Both cross left and are rather 
startled.) 

FLORENCE. 
Now everyone will know we're in love. 

WILLIAM. 
Do you really think anyone would ever suspect it ? 
(Laughs.) 

FLORENCE. 
(Becomes angry.) 
You're laughing at me. 

M^ILLIAM. 
I'm not. 

FLORENCE. 

It's that — that actress woman. 

(Starts to cry and crosses to davenport left. She 
sits on davenport and holds her handkerchief to her 
eyes.) 

('Phone bell rings.) 



ACT I 27 

WILLIAM. 

(Has started to cross to Florence, but stops, turns 
and looks at 'phone. He turns, looks at Florence, 
then at 'phone, which is still ringing. Looks back 
at Florence.) 

For goodness sakes don't cry until I answer this 
'phone. 

('Phone continues to ring during intervals until 
William answers it. Florence continues to cry. 
William looks from 'phone to Florence, then speaks 
to her feelingly.) 

Please don't cry, Florence. 

(Florence continues to cry. William looks at her, 
then speaks rather helplessly.) 

Go ahead and cry. » 

FLORENCE. 

(Stops crying abruptly and looks up.) 

I won't. 

WILLIAAL. 
You see, as soon as I . 

(He does not finish, but looks helplessly at *phone, 
which is still ringing. Crosses to 'phone and takes 
receiver off hook.) 



28 THE MAN YOU LOVE 

(At "phone.) 

Hello.— The editor of The Herald? 

f Florence takes her handkerchief from her eyes 
and is all attention.) 

FLORENCE. 

He wants to speak to me. 

fVILLUM. 

(At "phone. Gazes directly at Florence when he 
reads next line.) 

Mr. Gilmore is not in. 

(Florence turns away angrily.) 

(At "phone.) 

Just a moment. 

(To Florence.) 

When will your father be home? 

FLORENCE. 

(Rises, rushes to "phone and literally jerks the re- 
ceiver out of William" s hand. She glares at William 
as she speaks.) 



ACT I 29 

(To William.) 

I'll speak to the editor myself. 

(Jt 'phone.) 

(Gushingly.) 

This is Florence Gilmore, Mr. Editor. I'm angry 
with you. — Because you didn't print that society 
notice. Not a paper in town printed it. — If it was 
an oversight, I'll mail it again for next week. — 
You're filled up? — Then the week after next. — 
Father ought to be home soon. Don't forget to print 
that notice week after next. — Well, yes, it would be 
rather late. You'll print the next one? — All right. 
Good-bye, Mr. Editor. 

(Hangs up receiver and is in a happy frame of 
mind until she sees William. She crosses to daven- 
port and sits down pouting.)* 

WILLIAM. 

(Crosses to her.) 

Forgive me, Flo, if I've hurt you. I do love you, 
dear. Why, I have you for breakfast, dinner and 
supper, and when I go to bed at night, I dream of 
you and our future, and I picture our happiness in 
our own little home so complete and wonderful, that 
sometimes I think it can never come true. 



30 THE MAN YOU LOVE 

FLORENCE. 

(Rises.) 

(Protestingly.) 

But it will come true. 

WILLIAM. 

(Puts his hands on Florence's shoulders.) 

I hope so, dear. We'll always be good old pals 
and sw^eethearts, and when we grow old, and our 
hair turns gray and our faces are wrinkled, our 
hearts will still be as young and gay and as full of 
love for each other, as my father's and mother's was 
in the past, and your mother's and father's is now. 

FLORENCE. 

(Thoroughly contented.) 
You're wonderful. Will. 
(Kisses him and slyly runs from him.) 

WILLIAM. 
Tell me what I am again. 
(Florence smiles.) 



ACT I 31 

GILMORE. 

(Enters right.) 
Hello, Will. 

WILLIAM. 
Good evening, Mr. Gilmore. 

FLORENCE. 
(Crosses to father and kisses hitn.) 
I didn't know you were home. 
(Notices father s serious expression.) 
Why, father! What's the matter? 

GILMORE. 
Overw^orked. Bunch of nerves. 

FLORENCE. 

You do work hard. Too hard. You ought to 
take a vacation. " 

GILMORE. 

Think I will. Made my preliminary plans. 



32 THE MAN YOU LOVE 

FLORENCE. 

(Pleased.) 
You did? 

GILMORE. 
I've given up my position. 
(Regards William,) 

FLORENCE. 

k 

I'm glad. You've been so vi^orried and worn out 

of late, you haven't been yourself at all. But now 

you'll be the same cheerful, happy dad, you always 

were. 

GILMORE. 
I hope so, Florence. 

JANE. 
(Enters center.) 
Mr. Murphy to see Mr. Gilmore. 

GILMORE. 
Show him in. 
(Jane exits center.) 



ACT I 33 

FLORENCE. 

(Looks slyly and with pleasure at William, then 
speaks to father.) 

You'll excuse us, won't you, father? 

GILMORE. 

Of course, dear. 

(William and Florence exit right. They are 
happy to be left alone.) 

JANE. 

(Enters center with Murphy.) 

Mr. Murphy. 

(Jane exits.) 

MURPHY. 

(Regards Gilmore. Notices his serious expression.) 

You're not worrying about your job, are you, Mr. 
Gilmore ? 

GILMORE. 

I'm thinking of my family. 



34 THE MAN YOU LOVE 

MURPHY. 
Did you tell them they fired you? 

GILMORE. 
I told my wife. Did you tell yours? 

MURPHY. 

To be sure not. Faith, do you think I want to 
be under the sod with her spending my hard earned 
money for criminal lawyers to prove her insane? 

GILMORE. 
You told your wife you resigned ? 

MURPHY. 
Yes. 

GILMORE. 
Give any reason? 

MURPHY. 

I said the black hands was after me because I was 
becoming one of them financiers. And you know 
what she said ? 

(Laughs.) 



ACT I 35 

She said she didn't care the black of her nails why 
I quit, but I'd have to support myself. 

GILMORE. 

You should have told your wife you were ousted, 
and explained why. 

MURPHY. 

Then you think the Western is on to us? 

GILMORE, 
What do you mean ? 

MURPHY. 
The Newell deal, to be sure. 

GILMORE. 

The Newell deal? 

MURPHY. 
I see. You're playing the innocent game. 

GILMORE. 

Get down to facts, Murphy. 

MURPHY. 
1 will. The Western is suspicious. 



36 THE MAN YOU LOVE 

GILMORE. 

Of what? 

MURPHY. 

They're wondering why we gave the Newell Re- 
pair Company all of the Western's repair business 
and I wouldn't lay any odds they haven't got some 
information along that line. 

GILMORE. 

We transferred the Western's repair business to 
the Newell Company because their rates were lower 
than any of the other repair concerns. 

MURPHY. 

That's our excuse and I think it will work unless 
they get us dead to rights. 

GILMORE. 

You mean we've done something dishonest? 
MURPHY. 

(Meaningly.) 

Of course not. — Say, didn't President Blake of 
The Newell give you a check for fifty thousand 
dollars? — No use bluffing. We're all in the same 
boat. 



ACT I 37 

GILMORE. 

You mean you and Simms have been receiving 
money from the Newell people? 

MVRPHY. 

To be sure. 

GILMORE. 
In return for The Western's repair business? 

MURPHY. 
As a little token of appreciation. 

GILMORE. 

If you and Simms have been grafting, that's your 
business; but we're not in the same boat. That 
check Blake gave me was absolutely legitimate. 



MURPHY. 



It was? 
(Smiles.) 



GILMORE. 



We went in together on stock he got a tip on. 
Blake handled the deal and when he cashed, he gave 
me his check for my share. 



38 THE MAN YOU LOVE 

MURPHY. 

That wouldn't sound very good in a court of law. 
GILMORE. 

I don't care to hear any more of your Insinuations. 
The Western has been trying to oust me for some 
time because I wouldn't make a joke of justice by 
voting for the judges who would legislate honest 
people's money into its pocket. 

MURPHY. 

Whether you admit or not, that check you got 
from Blake was your share of the graft. 

GILMORE. 

(Crosses near Murphy threateningly.) 

That's a lie, Murphy. 

(A pause during which they regard each other.) 

MURPHY. 

Do you honestly believe Blake made that money 
in stocks? 

GILMORE. 

Certainly. 



ACT I 39 

MVRPHY. 

(Pause. Bus of reflection.) 
Then you were taken in. 

GILMORE. 
You mean . 

MVRPHY. 

Blake thought you was too shrewd to take the 
money outright, so pretended a legitimate deal to 
give you a good excuse. — But he thought you under- 
stood what the money was for. 

(Gihnore. Bus of reflection.) 

(A slight pause, during which Murphy regards 
Gihnore.) 

I believe you've been on the square ; but it would 
be pretty hard to explain that check. 

GILMORE. 

Blake will explain it. 

MURPHY. 

I'm thinking he couldn't do that. — I hear the 
State's Attorney's on the case. 



40 THE MAN YOU LOVE 

GILMORE, 

The State's Attorney! 

JANE. 

(Enters center and announces.) 

Mr. Simms. 

GILMORE. 

Show him in. 

(Jane exits center.) 

Does Simms know you've been getting money 
from The Newell? 

MURPHY. 

Yes. 

GILMORE. 

He hasn't much nerve, Murphy. 

MURPHY. 
Faith, you're not giving me any news. 

JANE. 
(Enters center with Simms.) 



ACT I 41 

Mr. Simms. 

(Jane exits center.) 

MURPHY. 

Hello, Simms. 

SIMMS. 

(He is an out-and-out coward. He enters shrink- 
ing and greatly worried. His age is thirty-seven.) 

Looks pretty bad, don't it? 

GILMORE. 

(To Simms,) 

Sit down. « 

(Indicates chair left of table.) 

(Simms sits where indicated.) 

Sit down Murphy. 

(Indicates chair right of table.) 

(Murphy seats himself.) 

(Gilmore stands back of table. He is very 
thoughtful and remains silent.) 



42 THE MAN YOU LOVE 

MURPHY, 

(To Simms.) 

We're in a mighty tight place, Simms. 

SIMMS. 

I alwaj^s opposed this repair shop scheme. 

MURPHY. 

It wasn't the scheme you opposed. You always 
reminded me of a safecracker who expected to get 
rich on the risk of a shoplifter. 

SIMMS. 

Suppose they find us out and bring us to trial? 
They can't convict us, can they? 

MURPHY. 

I'm not one of these clarevoyagers. 

SIMMS. 
(Turns, looks at Gilmore.) 
(To Gilmore.) 

You think they're on to us, Gilmore? 
(Gilmore. Business of expression.) 



ACT I 43 

MURPHY, 

Gilmore hasn't anything to do with the Newell 
affair, Simms. 

SIMMS. 

He got more out of it than we did. 

MURPHY. 

Be careful what you're saying. 

SIMMS. 

I can prove it. 

GILMORE. 

Prove it. • 

SIMMS. 

Ford, the former cashier at the Newell Company, 
secured photographs of the checks we all received. 

(Takes three photographs from pocket.) 

He sold me those photographs. 

(Picks out one. Speaks to Gilmore.) 

This is a copy of the fifty thousand dollar check 
Blake gave you. 



44 THE MAN YOU LOVE 

(Gilmore is startled.) 

MURPHY. 

(Crosses hurriedly to Simms and snatches photo- 
graph from Simms' hand. Gilmore crosses excitedly 
and looks at photograph with Murphy and indicates 
by reflection it is real. Murphy hurriedly destroys 
the photograph as he speaks.) 

Gflmore's deal was absolutely legitimate, Simms, 
and don't you say it wasn't. 

SIMMS. 

You're going to blame it all on me, so's you'll get 
free. 

(Gilmore. Bus of reflection.) 

MURPHY. 

We're trying to make a man of you, but you're 
making it a tough job. 

GILMORE. 

(Quietly.) 

Murphy told you the truth. My check was for a 
stock investment. Be a man. Show some fight. 

SIMMS. 

(Backs to exit, center.) 



ACT I 45 

It's easy for you to talk. Why don't you say I'm 
innocent. Why don't Murphy believe my check was 
for stock. You can't fool me. You can't trick me 
like that. I always opposed this scheme. They'll 
consider that. Damn little I got out of it. They'll 
consider that, too. We'll see who's who when the 
time comes. If they get me, they'll get you, too, 
Gilmore, and you. Murphy. Just wait and see. 

(Simms exits center.) 

MURPHY. 
If he was my brother, I think I'd kiss him. 

GILMORE. 

(Smiles faintly, then becomes serious and speaks 
to Murphy.) 

I can't tell you how much I appreciate what 
you've just done for me. 

MURPHY. 

I haven't forgotten you gave me my start at The 
Western and helped me along to a decent job. 

GILMORE. 

(Thoughtful.) 

You're sure Blake thinks I accepted that check 
as my share of the graft? 



46 THE MAN YOU LOVE 

MURPHY. 

Faith, didn't he tell me that? 

GILMORE. 

Then as far as he's concerned, I'm guilty. 

(Looks off stage right. Thinks.) 

You catch up with Simms and humor him along. 
I'm going to find out if the State's Attorney is in- 
vestigating the Newell. 

MURPHY. 

How are you going to do it? 

GILMORE. 
I'll tell you all about it later. 

MURPHY. 

I hope you get some information. 

(Exits center. Gilmore is very thoughtful. He 
starts to cross to exit right when Florence and Wil- 
liam enter right.) 

FLORENCE. 
Cheer up, father., You look awfully gloomy. 



ACT I 47 

WILLIAM, 
(Lightly.) 
Women must criticise, Mr. Gilmore. 

FLORENCE. 
Because men are so imperfect. 
(William : Bus of expression.) 

GILMORE. 
(To Florence.) 
Do you mind if I have a short talk with Will ? 

FLOREl^CE. 
Why, no. 
(Regards father and William^ then exits right.) 

GILMORE. 
Sit down, Will. 

(Indicates chair left of table, where William seats 
himself. Gihnore sits right of table.) 

I want to compliment you on that case you tried 



48 THE MAN YOU LOVE 

in court last week. You certainly put one over on 
old Coogan. Bet Florence was mighty proud of you. 

WILLIAM. 

She seemed to be pleased. 

GILMORE, 
How are you and she making out? 

WILLIAM. 
We get along all right. 

GILMORE. 
Have some good times, eh, Will? 

WILLIAM. 
Yes, we do. 

GILMORE. 
How do you stand with her? 

WILLIAM. 
She doesn't say very much. 

GILMORE. 
She always was a quiet girl. 



ACT I 49 

WILLIAM. 

Is that so? 

GILMORE. 

(Smilingly.) 

When she was an infant, we couldn't get a word 
out of her. 

WILLIAM. 

(Looks peculiarly at Gilmore, then smiles.) 

Oh, I know what you think. 

GILMORE. 

I'm not thinking, Will. I know you and Florence 
are secretly engaged to be married. You're a fox, 
Will, but you're trapped this time. 

(William smiles in an embarrassed manner.) 

Just stumbled onto the information. 

(Cautiously.) 

Accidentally overheard you say you expected to 
be in a position to marry her soon. 

(Regards him intently.) 



50 THE MAN YOU LOVE 

You weren't raising false hopes, just to keep 
Florence in good humor? 

WILLIAM. 

Of course not. 

GILMORE. 

I suppose you are basing your hope of quick suc- 
cess on the work you're doing for your father. 

WILLIAM. 

I haven't anything to do w4th father's case. — But 
regarding Florence, I haven't asked your consent or 
Mrs. Gilmore's. You sprang the subject rather 
suddenly. 

GILMORE. 

It's all right with me and I'm sure Mrs. Gilmore 
won't object. 

WILLIAM. 
(Pleased and relieved.) 
That's quite a relief. 

GILMORE. 

I hope your father will approve. He hasn't been 
here for a while, but, then, I realize he's very busy. 



ACT I 51 

Must be lining up a corking case. Been working on 
it a long time, hasn't he ? 

WILLIAM. 
Over three months, I guess. 

(Gilmore shows pleasure at progress he is mak- 
ing.) 

GILMORE. 
How's he making out? 

WILLIAM. 
You can't prove it by me. 

GILMORE. 

You'd think he'd let you know all about his work 
to familiarize you with his methods. 

WILLIAM. 

He has always confided in me ; but I couldn't get 
a thing out of him this time. 

GILMORE. 

You don't mean to say he hasn't told you any- 
thing about his present case. 



52 THE MAN YOU LOVE 

WILLIAM. 

Not a word ; but I rubbered around a bit. 

GILMORE, 

Can't fool you, Will. Bet you found out what 
your father is investigating. 

WILLIAM. 
That's about all. 

GILMORE. 

(As though reflecting. Thoughtful.) 

Your father has always told you about his cases, 
but not a word this time. 

(Thinks. Decision.) 

Are you sure you know what his case is about? 

WILLIAM. 
Certainly. 

GILMORE. 

Think now. Are you sure? 

WILLIAM, 

(Thinks.) 

Of course. Why do you ask? 



ACT I 53 

GILMORE. 

You've conveyed to my mind your father is in- 
vestigating the Newell Repair Company. 

WILLIAM, 

That's right; but I didn't tell you. 

GILMORE. 

It's just mental telepathy. 

WILLIAM. 
That's wonderful. 

(Pause.) 

(Consults watch. Rises excitedly.) 

I'll have to be going. — Say good-bye to Florence 
for me, will you? 

GILMORE. 
Yes. 

WILLIAM. 

And tell her you're in on the secret. 

GILMORE. 

I'll do that, Will. 

(William exits center.) 



54 THE MAN YOU LOVE 

(Thoughtful. Decision.) 

(Crosses to 'phone and takes up receiver.) 

(At 'phone.) 

Hello. — Central 501. — Hello. — Mr. Blake, 
please. — Hello. — Blake? — This is Gllmore talking. 
Worthing is investigating the Newell. — From his 
son. What stock did we invest in ? — I never under- 
stood anything but a legitimate deal. — I don't care 
what you say, you'll have to tell the truth about 
that check. 

(Puts up receiver angrily.) 

(Gilmore sits looking thoughtfully front. Marie 
enters, crosses behind father and puts her hands over 
his eyes. Gilmore reaches back and takes her hands, 
and cheers up somewhat when he realizes it is 
Marie. Marie releases her hands and puts her arms 
about her father s neck, pressing her face against 
his.) 

MARIE. 

My, but we'll have a good time at the circus to- 
night, won't we, daddy? 

GILMORE. 
(Seriously.) 



ACT I 55 

Yes, dear. We'll have a good time. 

(Marie looks lovingly upon her father and Gil- 
more looks thoughtfully front.) 

AS 

THE 

CURTAIN 

FALLS. 



ACT II. 

Library in the Gilmore home. Evening, 

One week later. 

(At the rise of curtain, Jane enters center. She 
has the evening paper in hand and reads with evi- 
dent interest and some surprise, an article on the 
first page. She continues to read as she crosses to 
table center, glancing up from the paper rather slyly 
once or twice, to make sure she is all alone. Just as 
she has reached table center, the door bell rings. 
Jane is somewhat startled and drops the paper on 
the table. Then she sighs in relief when she realizes 
the cause of her shock. She thought she was dis- 
covered. She indicates by a shake of the head and a 
movement of the hands that the item she has read is 
shocking. Jane then crosses to center entrance, 
makes her exit and in a moment re-enters with Wil- 
liam Worthing.) 

JANE. 
(To William.) 

I'll call Miss Gilmore. 

(Jane exits right.) 

(William crosses to table center, notices the paper 
Jane has left there, picks it up and glances over the 
56 



ACT II 57 

first page, scanning the item Jane has read and 
showing annoyance. He merely scans the article, 
indicating he has already read it. William tosses 
the paper back upon the table.) 

FLORENCE. 
(Enters right.) 

Hello, Will. I thought you'd be busy at the 
office. 

WILLIAM. 
Aren't you glad to see me? 

FLORENCE. 

(Crosses to him.) 

Why, of course. 

(She puts her arms about him, regards him and 
notices his serious expression.) 

Something's worrying you, Will. Isn't your case 
turning out all right? 

WILLIAM. 

I came to have a rather serious talk with you, 
Florence. 

FLORENCE. 
You frighten me, Will. 



58 THE MAN YOU LOVE 

WILLIAM. 

It's about your father. 

FLORENCE. 

Then you needn't fear telling me anything, be- 
cause the papers have exhausted the meanest rea- 
sons they possibly could find for father's supposed 
expulsion from the Western. 

WILLIAM. 
You don't realize how serious it is. 

FLORENCE. 
Please go on. 

WILLIAM. 
You will love me in spite of anything? 

FLORENCE. 
Tell me about father. 

WILLIAM. 
You'll find it there — in the evening paper. 
(Indicates paper Jane left on table center.) 



ACT II 59 

FLORENCE, 

(Crosses excitedly to table center, takes up paper 
and reads article hurriedly. William stands left and 
looks away.) 

(Excitedly.) 

Father accused of stealing the Western's money! 
And Will, your father has conducted the investiga- 
tion and will bring the charges? 

(Drops paper on table and crosses to William, 
who still looks away.) 

Oh, it isn't true, Will ? 

WILLIAM. 

(Turns to Florence.) 

Murphy and Simms were served this afternoon. 
— Your father would have been served had he been 
in town. 

s 

FLORENCE. 

I can't believe your father will bring such a 
horrible charge against my father. 

WILLIAM. 
Father had hoped to find Mr. Gilmore innocent 



6o THE MAN YOU LOVE 

FLORENCE. 

He believes my father guilty of theft? 

WILLIAM. 

(Shakes head to indicate Yes.) 

(Pause.) 

I'm sorry, but I want you to know the truth, so 
you and I will understand. 

FLORENCE. 

I understand. Your father sent you to break our 
engagement. I don't blame you, Will. Here's 
your ring. 

(Takes engagement ring from finger.) 
WILLIAM. 

(Rushes to her and holds her hands closed over 
ring she offers.) 

No, Florence! — I love you in spite of anything 
your father may have done. 

FLORENCE. 

It's noble of you to say that, Will. If my love 
for you were merely selfish, I would permit our re- 



ACT II 6i 

lationship to continue. I want to release you be- 
cause if my father — if my family's name were dis- 
graced, the sacrifice you would make in taking me, 
would be greater than my love for you could bear. 

WILLIAM. 

Do you realize what it will mean to me to put 
you out of my life? 

FLORENCE. 

And do you realize what it means to me to re- 
turn this ring. Why it means the shattering of my 
little dream. 

(Turns away brokeUj then after a struggle forces 
ring in William's hand.) 

WILLIAM. 

No, Florence! — No! 

FLORENCE. 

You're making it hard for me, Will. 
(Notes William's sorrowful expression.) 

A girl should put a man on a higher plane. At 
least she should not drag him down, and that's what 

I'd be doing, Will, if father . Oh, please, 

please understand. 



62 THE MAN YOU LOVE 

WILLIAM, 

I love you, dear, and you must permit me to hold 
your love. 

FLORENCE. 

You'll always hold my love, Will. Always. 
But you must consider your father. I'm sure he 
would not permit you to marry the daughter of the 
man he thinks a thief. 

WILLIAM. 

Don't say that, Florence! 

FLORENCE. 

He told you so before you came. Don't you see 
it's impossible for us to continue? 

WILLIAM. 

Suppose I convince father you and I should not 
suffer? 

FLORENCE. 

Do you think my father would allow me to marry 
the son of the man who accuses him of wrong? 

WILLIAM. 

Are we to be separated forever just because some- 



ACT II 63 

thing over which neither you nor I had control hap- 
pened in the lives of others? 

FLORENCE. 

Oh, I've tried to make yo\i see it my way. In 
trying to change my ideas, you're only torturing me. 
Leave me, please, leave me. 

(She sinks in chair left of table, buries her face 
in her hands and begins to cry. William regards 
her a moment undecided what to do. He indicates 
by action he is about to speak, thinks a moment, 
slowly crosses to exit, center, turns, agai?i regards 
Florence, inakes another effort as though to speak, 
then slowly and sorrowfully exits center.) 

(A slight pause.) 

(Mrs. Gilmore and Marie enter right. Marie 
has a school book in hand.) 

MARIE, 

(Crosses to Florence.) 

Why are you crying, sister? 

(Florence looks up and dries her eyes, but does 
not speak.) 

MRS. GILMORE. 

(Has crossed to Florence.) 



64 THE MAN YOU LOVE 

What's the matter, Florence? 

FLORENCE. 

I'm having a good cry, that's all. 

(Rises and hurriedly crosses to exit right and 
exits crying.) 

MARIE. 

Sister's eyes will be all red, mamsy. 

JANE. 

(Enters center.) 

A reporter of The Tribune wants to speak to Mr. 
Gilmore. 

MRS. GILMORE. 

Say Mr. Gilmore is not here. Remember that 
in future when reporters call. 

JANE. 

Yes, mam. 

(Exits center.) 

MARIE. 

Daddy is gettin' to be an awful big man, isn't 
he, mamsy? 



ACT II 65 

(Mrs. Gilmore reflects line.) 

(Marie picks up paper Florence has dropped on 
table center.) 

MRS. GILMORE. 

Let mother have the paper. 

MARIE. 

(Reluctantly gives paper to mother.) 

You haven't let me see the paper for a whole 
vreek now, mamsy, not even the funny pictures. 

MRS. GILMORE. 

You may see the funny pictures, dear. 

MARIE. 
I mean the funny pictures on the first page. 
(Mrs. Gilmore reflects line.) 
(Pause.) 
It's awful lonesome without daddy. 

MRS. GILMORE. 
Don't you like to be with mother, dear? 



66 THE MAN YOU LOVE 

MARIE. 

Oh, it's different with daddy. He's a man and 
you're a woman. 

MRS. GILMORE. 

Whatever do you mean, Marie? 

MARIE. 

Walter Mason says it takes a man to understand 
a woman. Of course I'm not a woman now, but 
I will be some day, won't I, mamsy? 

MRS. GILMORE. 

(Smiles faintly.) 

Of course, dear. 

MARIE. 

(Crosses to stool set before large library chair 
right and seats herself.) 

You sit here, mamsy, (Indicates library chair 
right) and read, and I'll study. 

MRS. GILMORE. 

All right, dear. 

(Crosses and seats herself in library chair, right.) 



ACT II 67 

MARIE. 

I wished I didn't need to study, mamsy. 
MRS. GILMORE. 

(Unfolds newspaper and glances at it. She con- 
tinues this business while talking to Marie.) 

All girls must study, dear. 

MARIE. 
Why, mamsy? 

MRS. GILMORE. 
People respect little girls who are smart, dear. 

MARIE. 

Will they respect me, mamsy? 

(Mrs. Gilmore has discovered the article regard- 
ing her husband. She reads excitedly.) 

Will they, mamsy? 

MRS. GILMORE. 

(Excitedly.) 

Of course, of course. 



68 THE MAN YOU LOVE 

MARIE. 

What's the matter, mamsy? 

MRS. GILMORE. 

Study your lessons, dear. 

MARIE. 

All right, mamsy. 

(Marie studies. Mrs. Gilmore hurriedly reads 
article and becomes worried and excited. Marie 
does not look up. Mrs. Gilmore tears the article 
from the paper. Marie looks up from her book, 
regards her mother^ then speaks.) 

Why are you doing that, mamsy? 

MRS. GILMORE. 

Oh — ^why — a bargain in linens. 

(Recovers her composure somewhat.) 

Vm going to buy you the prettiest little things. 

MARIE. 

(Rises from her stool and puts down her book.) 

Let me see the bargains, mamsy. 



ACT II 69 

(She stands beside her mother, puts her arms 
about her neck and tries to steal a look at the 
article her tnother has clipped, but Mrs, Gilmore 
holds it away so Marie cannot see it.) 

MRS. GILMORE. 

Mother wants to surprise Marie. 

MARIE. 

(Puts down her book and crosses left. She takes 
up a rubber ball and jacks, seats herself on floor 
and begins to play. Mrs. Gilmore lapses into deep 
thought, glancing over the clipping she holds in her 
hand and showing much concern.) 

There was the awfullest fight at school to-day, 
mamsy. 

MRS. GILMORE. 

(Looks up at child.) 

Yes. 

MARIE. 
(Proudly.) 

'Bout me, mamsy. 

MRS. GILMORE. 

About you? 



70 THE MAN YOU LOVE 

MARIE. 

Johnny Jones said my daddy used to be General 
Manager of The Western all right, and his daddy 
is only a bricklayer; but his daddy always made an 
honest living. 

MRS. GILMORE. 

(Reflection.) 

It was a terrible thing for him to say. 

MARIE. 

That's what Walter Mason thought, so he 
knocked the stuffin' out of Johnny for being so 
fresh. 

MRS. GILMORE. 

He's a horrid, horrid boy, Marie. 

MARIE. 

(Continues her game of jacks. There is a slight 
pause, Mrs. Gilmore all the while thoughtful. 
Marie finally rises, crosses to her mother and stands 
before her.) 

Is daddy honest, mamsy? 

MRS. GILMORE. 
Why, Marie! Of course your daddy is honest. 



ACT II 71 

MARIE, 

Well, Johnny said if I thought daddy was honest, 
I ought to read the papers, and you won't let me 
read the papers, mamsy. 

MRS. GILMORE. 

Johnny should have a sound thrashing. 
MARIE. 

If I was a man I'd knock the stuffin' out of him 
myself. 

MRS. GILMORE. 

And you'll have nothing more to do with him, 
Marie? 

MARIE. 
Honest I won't mamsy. Cross my heart. 
(She crosses her heart.) 

MRS. GILMORE. 
That's a good girl. 

MARIE. 
I must tell sister 'bout the fight. 



72 THE MAN YOU LOVE 

MRS. GILMORE. 
No, dear. 

MARIE. 
Well, I can tell daddy. 

MRS. GILMORE. 

Mother doesn't want Marie to say any more 

about it. 

MARIE. 

I promise, but it's kind of hard to keep, 'cause 
you know the fight was 'bout me. 

JANE. 

(Enters center.) 

Mr. Murphy to see Mr. Gilmore. 
MRS. GILMORE. 
Show him in, Jane. 
(Jane exits center.) 
(To Mane.) 
You'd better go, dear. 



ACT II 73 

MARIE. 
Can't I meet Mr. Murphy, mamsy? 
MRS. GILMORE. 

You may meet him, dear. But then Marie must 
go- 

MARIE. 

Yes, mamsy. 

JANE. 
(Enters center with Murphy.) 
Mr. Murphy. 
(Jane exits center.) 

MRS. GILMORE. 
Good evening, Mr. Murphy. 
MURPHY. 
Good evening, mam. 

MRS. GILMORE. 
This is my daughter, Marie, Mr. Murphy. 



74 THE MAN YOU LOVE 

MURPHY. 

How do you do, Miss? 

(Takes Marie's hand.) 

(Regards Marie.) 

I have a girl about your size at home. But she 
isn't as good looking as you. 

MARIE. 

You're just saying that. 

MURPHY. 
Sure, now, I mean it. 'Pon my word I do. 

MARIE. 
I like you. 

MURPHY. 
Now, now, don't you blarney me. 

MARIE. 
(Crosses to mother. She acts as though afraid.) 
I think he's saying something horrid, mamsy. 



ACT II 75 

MRS. GILMORE. 

No, dear. He means you're making fun of him. 

MARIE. 
Oh! — Good-night, Mr. Murphy. 
(Offers hand.) 

MURPHY. 

(Takes her hand.) 

Good-night, Marie. 

(Regards her.) 

Sure, I wouldn't mind having a house full like 
you. 

MARIE. 
I wouldn't like that, Mr. Murphy. 

MURPHY. 

Why not? 

MARIE. 

It isn't near so nice if there's lots of girls. 

MURPHY. 

You're learning early. 



76 THE MAN YOU LOVE 

MARIE. 

I learn a lot of things from Walter Mason. 

(To mother.) 

Good-night, mamsy. 

(Kisses mother. Regards her and notes serious 
expression.) 

I know you're angry 'cause I stayed. 

MRS. GILMORE. 
Mother isn't angry with her little girl. 

MARIE. 
(Notices clipping mother still holds.) 
Don't you show Mr. Murphy the bargains. 
(Mrs. Gilmore : Suppressed emotion.) 
You won't, mamsy? 

MRS. GILMORE. 
(Reluctantly.) 

No, dear. 



ACT II 77 

MARIE. 

And you'll let me know when daddy comes. 

MRS. GILMORE. 
Yes, dear. 

MARIE. 
(To Murphy.) 
Are you sure your little girl isn't as nice as me? 

MURPHY. 
Cross my heart. 
(Crosses his heart comically.) 

MARIE. 
You're an awful nice man. 
(Exits right.) 

MRS. GILMORE. 
(Watches Marie until she has made her exit.) 
(To Murphy.) 
I expect Mr. Gilmore very soon. 



78 THE MAN YOU LOVE 

(Pause.) 

(Gives full vent to emotion.) 

You don't know what I have suffered the past 
week, Mr. Murphy. I have reared my little girl 
with a wholesome respect for the truth. I have 
impressed her with the fact that if she lied, even 
in little things, God would surely punish her. But 
I, who have taught her that principle, have had to 
lie to her for a whole week now, so she would not 
know the terrible insinuations the papers have been 
printing about her father. 

MURPHY. 

Faith, that's all they are, insinuations, mam. 

MRS. GILMORE. 

Up to to-night, yes; but now the papers openly 
and directly accuse my husband of theft, and de- 
clare the State's Attorney, our friend, will bring the 
charges. Oh, it's horrible! 

MURPHY. 

This freedom of the press sure is hell. 

MRS. GILMORE. 

I wonder has your wife suffered as I have suf- 
fered. I wonder has Mr. Simms' wife and family 
endured what I have endured. 



ACT II 79 

MURPHY. 

Faith, now, I can't be answerin' for Simms; but 
my wife is too smart a business woman to mind 
what the papers are saying. You know what the 
butcher says about her. 

(Laughs.) 

He says of all the people he ever had any deal- 
ings with, my wife's the only one that can count a 
nickel twice, and make him believe he was paid ten 
cents. 

MRS. GILMORE. 

You mean your wife doesn't worry over the 
terrible things the papers have been saying about 
you? That she won't worry and fret over this? 

(Indicates clipping she holds.) 

MURPHY. 

This morning she says to me: "Mike, go to them 
newspaper fellers and tell 'em you're a regular devil 
let loose from the real place. Get all the advertisin' 
you can," says she, "and when the papers have 
everyone talkin' about you, them vodeville managers 
will pay you a fortune, to wiggle your feet or show 
off your shape." 

MRS. GILMORE. 

It's a wonderful gift, Mr. Murphy, to look 



8o THE MAN YOU LOVE 

lightly upon troubles and cares and worries. It's a 
gift few enjoy. I wish it were given to me. 

MURPHY. 

What's the sense of worrying over your troubles, 
when your neighbors will do it for you? 

MRS. GILMORE. 

That's just it, Mr. Murphy. I have two daugh- 
ters. I want everyone to respect those girls, be- 
cause they are my own flesh and blood. 

MURPHY. 

Sure, now, I wouldn't feel as badly as that. 
We'll make a monkey out of Worthing when the 
case comes to trial. 

MRS. GILMORE. 

You don't mean they will take my husband into 
court! They can't, they won't do that! 

(Murphy does not speak, realizing he has made a 
mistake.) 

Please tell me. 

MURPHY. 

I was just thinking of something funny that hap- 
pened at the house the other day. My wife and 
I . 



ACT II 8 1 

MRS. GILMORE. 

(Interrupts.) 

They won't carry these accusations into the 
courts, will they, Mr. Murphy? 

MURPHY. 

Faith, now, they may. But you needn't worry, 
'cause your husband came by every dollar honestly. 

MRS. GILMORE. 

I didn't dream it was as serious as that. I can't 
bear it, I can't bear it! 

(Sinks in chair and begins to cry.) 

MURPHY. 

(With great feeling.) 

Faith, I wished I knew what to say to you, but 
when you cry, I think of my wife and kiddy at 
home, and I get kind of soft myself. 

(Shows e?notion and effort to keep tears back.) 

(A short pause.) 

MRS. GILMORE. 

(Looks up and dries her eyes.) 



82 THE MAN YOU LOVE 

(Then between sobs.) 

They're cruel, cruel, heartless! Think how they 
will disgrace my girls! 

MURPHY. 

(With feeling.) 

I'm sorry, mam. 

(Bus of reflection.) 

JANE. 

(Enters center.) 

Mr. Worthing to see Mr. Gilmore. 

MRS. GILMORE. 

(Excitedly.) 

Show him in. 

(Rises from chair.) 

(Jane exits center.) 

(To Murphy.) 

You'd better wait in the other room for Mr. 
Gilmore. 



ACT II 83 

(Indicates door right.) 

MURPHY. 

Faith, now, you wouldn't want Worthing to 
think I was runnin' away from him? 

(Mrs. Gilmore does not answer.) 

(Murphy regards Mrs. Gilmore^ then slowly 
crosses to center exit.) 

I may come back later. 

JANE. 

(Enters center with Worthing.) 

Mr. Worthing. 

(Jane exits center.) 

(Worthing is forty-five years of age and appears 
rather serious.) 

(Mrs. Gilmore stands down stage looking front.) 

(Murphy is near center exit.) 

MURPHY. 

(Regards Worthing. To him.) 



84 THE MAN YOU LOVE 

I'm not saying what I think of you, but I'm 
thinking. 

(Exits center.) 

WORTHING, 

(Stands up stage. Regards Mrs. Gilmore, who 
still stands down stage looking front. Worthing 
slowly crosses down stage.) 

Good evening, Mrs. Gilmore. 

MRS. GILMORE. 

(Turns, regards him.) 

Frank and I have always shared each other's 
secrets. You know that. Tell me it's all a mistake. 

(Worthing does not answer.) 

Tell me you have not been investigating. 

(Worthing does not answer.) 

Then it's true! Oh, I see it in your face! It's 
true! 

(Worthing looks away.) 

(A pause.) 

(Gilmore enters center.) 



ACT II 85 

{Mrs. Gilmore rushes to husband and puts her 
arms about him.) 

Have you read the horrible stoiy? 

GILMORE. 
Don't you worry. There's nothing to it. 

MRS. GILMORE. 
Mr. Worthing has been investigating, dear. 

GILMORE, 

(Regards Worthing. His attitude is calculating, 
but not unfriendly.) 

(Mrs. Gilmore regards both men.) 

WORTHING. 

(Crosses to Gilmore.) 

Hello, Frank. 

(Takes his hand.) 

We've been good old friends, and Fm sorry. 



86 THE MAN YOU LOVE 

GILMORE. 

I appreciate your sentiment, Elbert, and feel 
you're doing what you consider your duty. 

WORTHING. 

I'm glad you understand. 

MRS. GILMORE. 

But you're innocent of these terrible charges, 
dear? 

GILMORE. 

(Looks at wife.) 
Of course. 

MRS. GILMORE. 
(To Worthing.) 

You see he's innocent, Mr. Worthing. — ^You in- 
vestigated because it was your duty as State's At- 
torney to do so, but now that you know Frank is 
innocent, you'll withdraw the charges. 

(Worthing does not answer.) 

Why don't you speak, why don't you say some- 
thing? Oh, you don't think my husband guilty? 



ACT II 87 

(Worthing does not answer.) 
Tell me you believe in Frank. 

WORTHING, 

(Bus of reflection, then looks down and away.) 

I wish to God I could. 

MRS. GILMORE. 

(To Worthing.) 

You're merely jesting — playing some trick. — 
Oh, how can you make such accusations! 

GILMORE. 

(To wife.) 

Money can do anything, nowadays, dear. 

WORTHING. 

What do you mean? 

(Mrs. Gilmore watches intently.) 

GILMORE. 

The Western is a rich concern. That's why they 
think they can ruin me. 



88 THE MAN YOU LOVE 

WORTHING, 

What could be their object in doing that? 

GILMORE. 

To get me out of the way. I might expose their 
crooked methods In politics and in the courts. Do 
you know they've set judges on the bench? Do you 
think those judges build fine homes and ride in autos 
on the salary they get in office ? 

WORTHING. 

Why don't you expose such corruption? 

GILMORE. 

President Monroe and his crowd cover their 
tracks petty well. Suppose I brought them into 
court. They'd hire the best legal talent in the 
country, work every crooked method known to law 
and the taxpayers would foot the bill. 

WORTHING. 

Why did the Western bring Murphy and Simms 
into this, if you're the man they're after? 

GILMORE. 

I'm not answering for Simms or Murphy. 



ACT II 89 

MRS. GILMORE. 

(To Worthing.) 

You see. It's all trickery. 

WORTHING. 
(Crosses to center exit.) 
(To Gilmore.) 
I'll meet you to-morrow. 

GILMORE. 
(Crosses to him.) 

Let's talk this matter over now. Sit down. 
(Indicates chair.) 

WORTHING. 

I prefer to see you at my office. 
(Regards Mrs. Gilmore,) 

GILMORE, 
(Looks at wife.) 
(To wife.) 



90 THE MAN YOU LOVE 

Dear, you'd better go. 

MRS. GILMORE, 

(Regards husband.) 

Look at me. Tell me you are innocent. 

GILMORE, 

(Looks at wife.) 

(A slight pause.) 

Do you mistrust me? 

MRS. GILMORE. 

No, no ! I love you too much for that ! I believe 
in you, but I want to hear you say once more you 
are innocent. 

(She looks into his eyes; he in hers.) 

GILMORE. 

Of course, I am innocent. 

MRS. GILMORE. 
Then I will remain. 

GILMORE. 

You're right, dear. 



ACT II 91 

(To Worthing.) 

The charges against me are absolutely without 
foundation. 

WORTHING. 

When the owners of the Western told me of their 
suspicions, I thought it was a frameup, as you 
claim, and took the case out of friendship for you 
and your wife; to make sure you got a square deal. 

GILMORE. 

Well? 

(Worthing hesitates, then regards Mrs. Gil- 
more. 

I want my wife to hear everything you have to 
say. 

WORTHING. 

I have gone over the ground thoroughly and am 
convinced of your guilt. 

GILMORE. 

(His attitude changes from calculating friendli- 
ness to anger.) 

Then why did you come here to-night? 



92 THE MAN YOU LOVE 

WORTHING. 

To help you avoid the disgrace which will follow 
the trial. 

MRS. GILMORE. 

The disgrace! 

GILMORE. 
What do you mean, Worthing? 

WORTHING. 

(Pause.) 

I came to offer you a chance to escape punish- 
ment. 

(Mrs. Gilmore is all eagerness.) 

GILMORE. 

(Coolly.) 

And that? 

WORTHING. 

Turn state's evidence. 

MRS. GILMORE. 

State's evidence! 



ACT II 93 

GILMORE. 

(To Worthing.) 

(Calmly.) 

I'm innocent until proven guilty, Worthing. 

MRS. GILMORE. 

They can't prove you guilty, dear! They can't 
prove you guilty! 

GILMORE. 

(To wife.) 

Of course not. 

(Then half to wife and half to Worthing.) 

You know nowdays when a State's Attorney 
feels he's up against it in some case he's prosecuting, 
he goes to one or more of those on trial, browbeats 
them into believing they will land behind the bars, 
and then when he has pictured the horrors of the 
pen, and the disgrace and everything, he makes them 
believe their only chance of escaping lies in taking 
The Immunity Bath. In that way the State's At- 
torney induces the victim to turn State's Evidence, 
and thus assures the success of his case. 

(Mrs. Gilmore seats herself.) 



94 THE MAN YOU LOVE 

WORTHING. 

(Somewhat vexed.) 

You're putting up a strong bluff, Gilmore. I 
insist you do the one and only thing that will pre- 
vent complete disgrace for your wife and family; 
the only thing that will prevent unhappiness be- 
tween your daughter and my son. 

GILMORE. 

Your son? 

WORTHING. 

You will make your daughter undesirable for 
Will, if you go to the penitentiary. 

MRS. GILMORE. 

The penitentiary! 

GILMORE. 

(To wife.) 

You see the influences he's trying to exert to 
compel me to lie myself into disgrace? 

(To Worthing.) 

I wouldn't betray my friends in spite of any- 



ACT II 95 

thing you might say; in spite of anything you might 
do. 

WORTHING, 

You call Murphy and Simms your friends. Why, 
either one of them would eagerly accept the same 
chance I have oflFered you. 

GILMORE. 

Then why did you come to me? Did you think 
me the easiest prey to your dastardly offer? — What 
right have you to offer Immunity? 

WORTHING. 

The right comes with the office which comes from 
the people. 

GILMORE, 

The people, through their representatives, set 
forth certain acts as crimes, and certain punish- 
ments for those crimes. You take it upon yourself 
to do away with the punishment. You're defeating 
the will of the people. 

WORTHING. 

I didn't come to argue my right, Gilmore. I 
came to protect your wife's good name. 



96 THE MAN YOU LOVE 

GILMORE, 

You, you protect her good name. You're a dis- 
grace to the office you hold. You think you're 
doing a smart thing when you induce a lot of poor, 
weak devils, to take The Immunity Bath. You 
make them believe they're protecting their family's 
good name, when in reality they're only dragging 
it further in the mire by making welchers and cring- 
ing cowards of themselves. I don't blame them, I 
blame you. I'm made of different stuff. Worthing. 
If I were as guilty as hell and standing within the 
shadow of the penitentiary, I wouldn't accept your 
damnable offer. 

IVORTHING. 

Think of your wife, think of your daughters, 
think what a term in the penitentiary would mean 
to them. 

(Mrs. Gilmore sighs aloud, but does not speak.) 

GILMORE. 

You haven't a case to stand on, Worthing. It 
will be thrown out of court and the State's Attor- 
ney's office will be the laughing stock of the coun- 
try. 

WORTHING. 

During the past year you have invested a hundred 
thousand dollars in real estate in this city. 



ACT II 97 

GILMORE. 

That's my business. 

WORTHING. 

It may be the court's business. You may be called 
upon to account where you secured so much money 
in one year on a ten thousand dollar salary. 

MRS. GILMORE. 

Frank, have you invested so much money? 

GILMORE. 

Why, no. 

(To Worthing.) 

Suppose I had invested as much as you say. That 
wouldn't prove anything. 

WORTHING. 

Standing alone, no. But suppose I could prove 
that Blake of the Newell gave you a check for fifty 
thousand dollars? 

GILMORE. 

(Worried.) 

That would be circumstantial evidence. 



98 THE MAN YOU LOVE 

WORTHING. 

In view of the fact that The Newell Company, 
a brand new concern, was favored with all of the 
Western's repair business, I would consider the 
check conclusive proof. 

GILMORE. 

There wasn't any check, so you couldn't produce 
one. 

WORTHING. 
A copy would serve equally well. 

GILMORE. 
(More worried.) 
(Excitedly.) 
Why, what do you mean? 

WORTHING. 

I mean Simms is waiting at his home to receive 
the same chance I have offered you. 

GILMORE. 

(Excitedly.) 

You're bluffing — you're . 



ACT II 99 

WORTHING. 



(Interrupts.) 



In return for a set of plates of the checks you all 
received. 

GILMORE. 

(Action showing realization.) 

(Mrs. Gilmore watches husband intently, but 
does not speak.) 

(Gilmore thinks a moment, then crosses hurriedly 
to the telephone and takes off receiver. He watches 
Worthing as he crosses.) 

(At 'phone.) 

Hello — Main 221 — Hello. Is Mr. Simms there? 
■Hello. Simms? — This is Worthing, the State's 



Attorney, talking. I accept your offer. I'll give 
you Immunity. Have you those plates ready? — 
You have ! You'll — bring — them — right — up ! 

(Gilmore puts up receiver limply. He is greatly 
affected. He sits head lowered. Mrs. Gilmore 
borders on collapse. Worthing looks on greatly 
affected. Gilmore finally, after a short pause, looks 
up and gazes at Worthing as though he had just 
learned of his presence in the room. Gilmore speaks 
in a loWj broken voice.) 



lOO THE MAN YOU LOVE 

You'd better hurry back to the office, Worthing. 
Simms is on his way there and you might miss him. 

WORTHING. 

(Moves slowly up stage, looking down. He 
stops and speaks with kindly feeling.) 

Now will you accept my offer? 

GILMORE. 

Bring on your welchers, your Immunity seekers. 
Line them up from one end of the court room to 
the other. The more you have, the harder I'll fight. 

WORTHING. 

Then you refuse? 

GILMORE. 

Refuse? Of course I refuse. I've got too much 
confidence in a jury of American people to fear the 
Western's game. To hell with your Immunity 
Bath. 

(Worthing moves to exit center, head lowered; 
Mrs. Gilmore collapses in chair right and Gilmore 
rushes to his wife's side.) 

AS 

THE 

CURTAIN 

FALLS. 



ACT III. 

Library in the Gil more home. A few minutes later. 

(When the curtain rises, Mrs. Gilmore is dis- 
covered seated in chair right. She is in a very 
nervous condition. She holds a wet cloth to her 
head. Jane stands near her, having just attended 
her. Mrs. Gilmore lowers cloth and with handker- 
chief dries her eyes.) 

(Mr. Gilmore paces nervously back and forth 
across the room, up stage, now and then regarding 
his wife, and then looking sorrowfully away.) 

(A pause.) 

JANE. 

Will you need me any more, mam? 

MRS. GILMORE. 

No, Jane. 

JANE. 

(Crosses to exit, center, stops, hesitates, then re- 
crosses to Mrs. Gilmore.) 

I was wondering if you'd mind if I went to a 
sociable. 

lOI 



I02 THE MAN YOU LOVE 

MRS. GILMORE. 

You may go, Jane. 

JANE. 

(Hesitates, thinks.) 

If there's anything I can do . 

MRS. GILMORE. 

Go to your sociable, Jane, and have a good time. 

.T4NE. 

(Regards Mrs. Gilmore a moment, then hesitates 
before speaking.) 

(Gladly.) 

Thank you, mam. 

(Regards Mrs. Gihnore again. Changes expres- 
sion from gladness to feeling.) 

(With feeling.) 

I'm sorry. 

(Regards Mrs. Gilmore as she slowly crosses to 
renter exit. When she nears Gilmore, she stands 
hesitating, acting as though she would speak to him. 
He is looking aiuay.) 



ACT III 103 

(The door bell rings.) 

GILMORE. 

(To Jane, without turning.) 

See who that is, Jane. 

JANE. 

Yes, sir. 

(Exits center.) 

(Gilmore paces across the room. He casts one 
sorrowful glance at his wife, then looks away.) 

(Jane re-enters center.) 

(To Gilmore.) 

Mr. Murphy, sir. 

GILMORE. 

I'll see him in the morning. 

(Jane crosses to center exit.) 

And Jane. 

JANE. 

(Stops, turns.) 



I04 THE MAN YOU LOVE 

Yes, sir. 

GILMORE. 

Tell Murphy that Simms has . Just say 

I'll see him in the morning. 

(Jane exits center.) 

(Mrs. Gihnore cries anew when husband reads 
line about Simms.) 

(Gilmore stops pacing, looks up and slowly 
crosses to his wife. He stands before her.) 

It's hard, dear; but we must be brave. 

MRS. GILMORE. 
Oh, what shall we do? 

GILMORE. 
We'll fight, dear. 

MRS. GILMORE. 

Against such odds? You are convicted before 
the trial! 

GILMORE. 

It's a hard fight. But I'll win. 



ACT III 105 

MRS, GILMORE. 

I wish I could believe it! I wish I could believe 
it! 

GILMORE, 

You'll see when the trial is over. 

MRS. GILMORE. 

Even that will mean disgrace! 

GILMORE. 

Wait, wait. 

MRS. GILMORE. 

Vm. afraid I'll only be awaiting your doom. 
Why, when you 'phoned Simms, I, who love you 
so very much and trust you implicitly, could scarcely 
believe in your innocence. 

GILMORE. 

Don't say that! I wouldn't fight against such 
odds if it wasn't for you. I wouldn't have the 
courage. 

MRS. GILMORE. 

I want to be so brave; but I'm afraid it's too 
much to expect in the face of the evidence. 



io6 THE MAN YOU LOVE 

GILMORE. 

Worthing hasn't any evidence. 

MRS. GILMORE, 

Then why does he accuse you? 

GILMORE. 

He's helping the Western ruin me. 

MRS. GILMORE. 

Why should he do that? 

GILMORE. 

To make himself strong with the people. — Don't 
you see what effect it will have on the public mind 
when he prosecutes me, who is known as his friend ? 
He will lead the people to believe his duty to them 
is his first and only consideration. He may be aim- 
ing at something bigger, a higher office. 

MRS. GILMORE. 

He needn't ruin you to accomplish what you say. 
Why, it's absurd. 

GILMORE. 

That's what he's doing, I tell you. 



ACT III 107 

MRS. GILMORE. 

No, no! In spite of the evidence, he offered you 
a chance to escape. 

GILMORE, 

He wanted me to play right into his hands and 
assure the success of the Western's lies. 

MRS. GILMORE. 

I wish I could believe what you say! 

GILMORE. 

(Worried.) 

You mean . 

MRS. GILMORE. 

(Somewhat calmly and deliberately.) 

I have believed in you throughout; defended you; 
asked few questions, few explanations . 

GILMORE. 

(Interrupts.) 

(Somewhat excitedly.) 

I know, dear. You've been too kind, with every- 
thing against me. 



io8 THE MAN YOU LOVE 

MRS. GILMORE. 

— ^but when you accuse a lifelong friend . 

GILMORE. 

(Interrupts.) 

(Very excitedly.) 

I didn't mean what I said about Worthing! It's 
the worry, the trouble, the excitement, the thought 
of you and Marie and Florence that made me accuse 
him as I did! But I didn't mean it, so help me 
God I didn't! 

MRS. GILMORE. 

(Very calmly and deliberately.) 

I want you to tell me why you lost your position. 

GILMORE. 
I've told you that; explained it all! 

MRS. GILMORE. 
Why did you lose your position? 

GILMORE. 

The Western sought revenge because I supported 
an enemy of the road. 



ACT III 109 

MRS. GILMORE. 

Then why were the papers told you resigned? 

GILMORE. 

I don't know why they were told that! I don't 
•! Yes! It just came to me! The Western 



knew if they said I resigned without giving any 
reason, it would look peculiar^ cause insinuations, 
as it has done the past week! I see the trick now! 
It's clear to me, all clear! 

(Appealingly.) 

You see it yourself, don't you, dear? 

(Mrs. Gilmore does not answer, although Gil- 
more awaits her to do so.) 

You don't mistrust me? You don't think me 
guilty? It isn't fair! It isn't right! Worthing 
has been taken in. 

MRS. GILMORE. 

Have you invested any money in real estate the 
past year? 

GILMORE. 

Yes. Some. 



no THE MAN YOU LOVE 

MRS, GILMORE. 
How much? 

GILMORE. 

Not a great deal. I haven't counted it up. I've 
made a little money lately. Struck it lucky in stocks. 
I may have invested more than I think. 

MRS. GILMORE. 

As much as Worthing claims? 

GILMORE. 

Perhaps. Yes. But I made it in stocks. 

MRS. GILMORE. 

What stocks? 

GILMORE. 

I don't know. I mean, I don't remember. There 
were several, several stocks. You're confusing me. 
Please don't question me. I need your love, your 
faith. 

MRS. GILMORE. 

You made a hundred thousand dollars in stocks 
and didn't tell me a word about it? 



ACT III III 

GILMORE. 

I see your argument. It does look peculiar. I 
should have told you. But I knew you'd forbid me 
to speculate. I'd have to explain the details and 
you wouldn't understand. 

MRS. GILMORE. 

Why didn't you tell me about the money after 
you had made it? 

GILMORE. 

I intended to invest again. But I meant to tell 
you when I was through speculating. 

MRS. GILMORE. 

Didn't you receive a check from the Newell Re- 
pair Company? 

GILMORE. 
No, not a single penny. 

MRS. GILMORE. 
How do you explain those plates? 

GILMORE. 

Simms hasn't any plates, because there wasn't any 
check. 



112 THE MAN YOU LOVE 

MRS. GILMORE. 

Simms told you he had when you 'phoned him. 

GILMORE. 

Yes, yes, he did. That's part of the frameup. 
That's . 

(Stops abruptly.) 

(Gilmore gains some control of himself, becoming 
provoked when he suddenly realizes his wife has 
been exciting him.) 

(Spoken firmly.) 

I'm going to tell you the truth about this whole 
affair. I did receive that check, but for what I 
thought was my share of a stock investment. I be- 
lieved that until Murphy told me otherwise and 
when I asked Blake to explain, he intimated I un- 
derstood the check w^as my share of the graft. Then 
it dawned upon me for the first time why Blake al- 
ways refused to tell me what stock we were invest- 
ing in. — I should have told you from the start, but 
I didn't think you would believe me. You've got to 
believe me now; you've got to believe every word 
I've told you is the truth. 

MRS. GILMORE. 
For the children's sake, I do want to believe. 



ACT III 113 

GILMORE, 

That's why I'm fighting. For the children's sake, 
for your sake. 

MRS. GILMORE. 

They can't convict you if you are innocent. 

GILMORE. 

They can't convict me in spite of . If they 

do, you won't forsake me. You'll still believe in 

me. You'll wait until . Oh, God, they 

can't convict me! 

(He holds his hands over his eyes and staggers 
slightly.) 

MARIE. 

(Enters door right.) 

Mamsy, you promised to call me when daddy 
came. 

(Mrs. Gilmore stands right, looking front, and 
does not answer.) 

(Gilmore, who was beside his wife, crosses left, 
and looks away.) 

Hello, daddy. 



114 THE MAN YOU LOVE 

(Crosses to her father. Notices his attitude.) 

(Gilmore does not answer.) 

Why, daddy! Have you and mamsy been 
fightin' ? 

(Neither husband nor ivife answer. Both still 
look away.) 

You're not a bit glad to see me, daddy, and I've 
missed you awful much. 

GILMORE. 

(Forced to speak, but does not look at child.) 
Yes, dear. I'm glad to see you. 

MARIE. 
(Stands beside father.) 
You don't act like you were, daddy. 

GILMORE. 
(Turns and with effort looks at child.) 
How are you, dear? 

MARIE. 
Why don't you kiss me, daddy? 



ACT III 115 

(Gilmore leans over to kiss child,) 

Oh, no, daddy. Kiss me like you always do. 

(Gilmore raises Marie off her feet and kisses her. 
He puts her down.) 

That's better, daddy.— You look awful cross. 

GILMORE. 

I'm tired, dear; tired after a long ride. 

MARIE. 

Then you'll be all right again in the morning, 
won't you daddy? 

GILMORE. 

Yes, dear ; after a good rest. 

MARIE. 

And you won't go away any more, will you, 
daddy? 

GILMORE. 

Why, no. Unless — some business . 

(Mrs. Gilmore. Anguish.) 



ii6 THE MAN YOU LOVE 

MARIE. 

I don't want you to go away, daddy, 'cause it's 
awful lonesome when you're not here. 

MRS. GILMORE. 

(Who has all the while been looking front and 
reflecting child's lines, speaks.) 

It's late, dear. You ought to be in bed. 

MARIE. 

Can't I stay with daddy a little while, mamsy? 

GILMORE. 

I'll see you in the morning, dear. 

MARIE. 

All right. Good-night, daddy. 

GILMORE. 

Good-night, Marie. 

(Raises child off feet and kisses her.) 

MARIE. 
(Crosses to her mother.) 

Good-night, mamsy. 



ACT III 117 

MRS. GILMORE. 

Good-night, dear. 

(Bends over and kisses child.) 

MARIE. 

Oh, daddy. I met Mr. Murphy and I think he's 
an awful nice man. 

(Gilmore reflects line.) 

(Marie crosses to exit right, then turns.) 

You're real sure you won't go away any more, 
daddy? 

GILMORE. 

I won't go away, dear. 

MARIE. 

Don*t you forget. 

(She crosses to exit right, smiling innocently at 
her father and waving her hand at him until she 
reaches exit.) 

Good-night, daddy. 

(Smiles upon father and exits right.) 



ii8 THE MAN YOU LOVE 

GILMORE, 

(Has tried hard to smile back at child, but it was 
a sad effort. He watches Marie intently until she 
is gone, when he puts his hand over his eyes as 
though to shut out the vision of the little girl. He 
is fighting hard to pull himself together. He stag- 
gers toward his wife, right.) 

I'm afraid. 

MRS. GILMORE. 

Afraid? 

GILMORE. 

(Still fights hard to control himself.) 

Afraid of the future, afraid of the trial. I 
fear . 

MRS. GILMORE. 

You fear ? 

GILMORE. 

(Completely breaks down. Speaks slowly and in 
a voice full of anguish.) 

They've got the goods on me. They* re going to 
send me over. 



ACT III 119 

MRS. GILMORE. 

You don't know what you are saying! 

GILMORE. 
It's true. I am the thief they claim I am. 

MRS. GILMORE. 
No! No! 

GILMORE. 

Please, please forgive me. 

(Moves to ivife as though to put his hands on 
her. She moves away from him quickly and crosses 
left.) 

(Pause.) 

I'm ashamed, ashamed! 

MRS. GILMORE. 

You've deceived me! Broken my faith in you! 
I wish I had never met you, never known you ! 

(Sinks in chair left of table center.) 

GILMORE. 

Don't say that! I need you to help me save our 



no THE MAN YOU LOVE 

good name! You'll stand by me and help me fight! 

MRS. GILMORE, 

You haven't a chance to fight it out and win! 

You are going to the penitentiary! To the . 

No, no! For the children's sake, I won't let you go! 

GILMORE. 

I'm glad you'll help me! I'm glad you'll ! 

MRS. GILMORE, 

(Interrupts.) 

You must accept Worthing's offer. 

GILMORE. 

No! No! 

MRS. GILMORE, 

It will keep you with us, instead of there, whore 
you'll further disgrace us! 

GILMORE. 

It will be worse if I do as you say! Think what 
a coward, what a cur I will be making of myself! 



ACT III 121 



MRS. GILMORE. 



You owe It to all of us to avoid becoming a 

a convict! 

GILMORE. 

I'll fight, that's how I'll avoid it! I'll beat them, 
that's what I'll do! I'll beat them, I tell you! I'll 
beat them! 

MRS. GILMORE. 

You must accept Worthing's offer. 

(Reaches for 'phone.) 

GILMORE. 

Let me be a man, the kind of man you love ! The 
Immunity Bath won^t cleanse me! 

(Mrs. Gilmore takes up receiver.) 

Don't call Worthing! Please, don't call him! 

MRS. GILMORE. 

(At 'phone.) 

Hello. — Central, 184. 

GILMORE. 

No, no! Please! 
(Pause.) 



122 THE MAN YOU LOVE 

MRS. GILMORE. 

(At 'phone.) 

Hello. — Just a moment. 

(Looks at husband.) 

(Offers 'phone.) 

Mr. Worthing. 

GILMORE. 

He hasn't the right to make the offer! He's 
doing away with the punishment, defeating the will 
of the people! 

MRS. GILMORE. 

It means me; it means the children. 

GILMORE. 

Don't put it that way! There's no one wants to 
speak to Worthing! No one wants to speak to him! 

(Regards tuife, who still offers 'phone, then slow- 
ly staggers to the telephone. He is fighting hard 
to stand by his ideal. He speaks as he crosses.) 

You, you, my wife, make me turn welcher, cur, 
coward, because I can't bear to lose you ! 



ACT III 123 

(Has reached 'phone and takes receiver his wife 
offers and picks up 'phone. He stands back of cen- 
ter table facing the audience. He acts as though to 
speak into 'phone^ regards his wife, makes another 
attempt as though to speak in 'phone, regards wife 
again, fights hard and desperately ; gradually is seen 
to gain ground in his struggle, for he slowly 
straightens from his shrinking position and suddenly 
puts up the receiver with a bang. His dogged char- 
acter has returned.) 

(Firmly.) 

(Spoken to wife as he puts up receiver.) 

I won't do it. 

MRS. GILMORE. 

Oh, oh! 

(Buries face in arms, leaning over center table.) 

(Pause.) 

GILMORE. 

(With great feeling.) 

I want you to know it isn't because I don't love 
you that I have refused to do as you ask, for no one 
in this whole world will ever fill the place you will 
leave vacant. If you only understood how vile and 
groveling a creature a welcher really is, you would 



124 THE MAN YOU LOVE 

realize I must love you very, very much, to sacrifice 
you rather than stoop so low. A ghoul is the low- 
liest bird that lives, because it feeds on dead car- 
casses. A welcher is even lower than that. He is 
like the dead carcass the ghoul feeds upon, for when 
mishap befalls him in his scheme of things, he offers 
as much resistance to the tearing off of his cloak of 
respectability, as the dead carcass to the tearing off 
of its flesh. 

MRS, GILMORE. 

I have nothing more to say. 

(She looks sorrowfully front, and Gilmore stands 
regarding her, a painful expression on his face.) 

AS 

THE 

CURTAIN 

FALLS. 



ACT IV. 

Library in the Gilmore Home. 

A few days later. 

Evening, 

(The curtain rises upon an empty stage. A slight 
pause when the door bell rings. After a moment 
Jane enters door center with William Worthing.) 

JANE. 

(To William as they enter.) 

Mr. Gilmore left word he'd be back very soon. 

WILLIAM. 
Very well, Jane. 

JANE. 

(Turns, hesitates j then turns to William.) 

Shall I call Miss Florence? 

(ff'Jliam: Expression of sadness.) 

(Jane looks peculiarly and somewhat sadly at 
William, then starts to exit center.) 
125 



126 THE MAN YOU LOVE 

WILLIAM. 

Jane. 

JANE. 

(Turns.) 

Yes, sir. 

WILLIAM. 

Has Heme been here? 

JANE. 

You mean the electrician? 

WILLIAM. 

(Pause. Thoughtful.) 

(Realization.) 

Why — yes. 

JANE. 

He's fixing the lights in the room off the halL- 
Shall I call him? 

WILLIAM. 

I'll wait for Mr. Gilmore. 



ACT IV 127 

JANE. 

Yes, sir. 
(Exits center.) 

(William moves down stage to center table, looks 
up at chandelier at lights, then sits in chair left of 
table, picks up paper and begins to read.) 

FLORENCE. 

(Enters right and crosses center.) 

(William notices Florence as she crosses. He 
rises from chair and puts paper down.) 

(Florence looks up with a start as she nears and 
sees William.) 

Oh! 

(Moves back hesitatingly.) 

WILLIAM. 

(Looks down, then up at Florence and speaks in 
an embarrassed manner.) 

How do you do? 

FLORENCE. 

(Shyly.) 
I've intruded. 



128 THE MAN YOU LOVE 
WILLIAM, 
Yes . 

(Startled and embarrassed.) 

No, no. Not at all. I'm glad to see you. 

(Crosses toward her and stops near her.) 

It seems some time since you — since — since we've 
seen each other. 

FLORENCE. 

(Shyly.) 

Yes. 

(Pause, during which both regard each other. 
They look down and act embarrassed.) 

You've been quite well? 

WILLIAM. 

Yes. And you? 

FLORENCE. 

(Looks down. Hesitates.) 

(Sadly.) 



ACT IV 129 

You shouldn't have come, Will. 

(Shows feeling.) 

(TVtlliaTn does not answer and looks away.) 

Perhaps — perhaps you didn't come to see me. 

WILLIAM. 
No. That is — not exactly. 

FLORENCE. 

I'd better go. 

(Starts to cross to exit right.) 

WILLIAM. 

You don't understand. 

FLORENCE. 

(Stops.) 
(Pause,) 
Well? 

WILLIAM. 
I came to see your father. 



T30 THE MAN YOU LOVE 

FLORENCE. 

(Quickly.) 

Your father has agreed to drop the charges? 

PFILLIAM. 

No. Father would gladly have done that long 
ago, had Monroe of the Western consented. 

FLORENCE. 

Then what chance is there? 

WILLIAM. 

I have an appointment with President Monroe 
to-night. 

FLORENCE. 

You intend to plead with him? That's useless. 
Besides father will not permit it. 

(Looks down and away.) 

(William starts to cross to Florence.) 

GILMORE. 

(Enters center.) 

Hello, Will. 



ACT IV 131 

(Interrupts William's cross.) 
WILLIAM. 
How do you do, Mr. Gilmore? 
(Florence moves a few steps right and exits.) 

GILMORE. 

(To William.) 
Kept you waiting? 

WILLIAM. 
Not very long. 

GILMORE. 
(Nervously.) 
You 'phoned Monroe? 

WILLIAM. 
Yes. 

GILMORE. 
(Nervously.) 
With what result? What did he say? 



132 THE MAN YOU LOVE 

WILLIAM. 
At first he absolutely refused to come. 

GILMORE. 
Yes. And then? 

WILLIAM, 

Something caused him to change his attitude 
completely. And he agreed. 

GILMORE. 

(Nervously.) 

You're sure he isn't bluffing? 

WILLIAM. 
I think not. 

GILMORE. 
When do you expect him? 

WILLIAM. 
Any time now. At eight he said. 
(Consults watch.) 
It's almost that. 



ACT IV 133 

JANE. 

(Entei's center and announces.) 
Mr. Monroe and Mr. Carroll. 

GILMORE. 
Show them in. 
(Jane exits center.) 

WILLIAM. 

I'll ring the hall bell when I want you. Hurry. 

(Gilmore, who has crossed to exit right, hurriedly 
exits.) 

(William crosses to table center and stands there 
a moment looking at books on table.) 

JANE. 

(Enters center with Monroe and Carroll.) 
Mr. Monroe and Mr. Carroll. 
(Jane exits center.) 

WILLIAM. 
(Turns. Crosses to Carroll.) 



134 THE MAN YOU LOVE 

How do you do, Mr. Carroll? 
(Offers hand.) 

CARROLL. 
(Accepts hand William offers.) 
Hello, Will. 
(Turns to Monroe.) 
(Speaks to William.) 
This is President Monroe. 
(To Monroe.) 
The State's Attorney's son. 

MONROE. 
(Coldly.) 
Oh, yes. 

WILLL4M. 

(Crosses to Monroe.) 

Glad to make your acquaintance. President Mon 
roe. 

(Offers hand.) 



ACT IV 135 

MONROE. 

(Regards William coldly and theUj after a short 
hesitation, takes William's extended hand.) 

(Coldly.) 

How do you do? 

WILLIAM. 

(To Monroe.) 

Won't you sit down? 
(Indicates chair right of table.) 

MONROE. 

(Crosses and seats himself right of table.) 

Thanks. 

WILLIAM. 

(To Carroll.) 

Sit down, Carroll. 

(Indicates chair left of table.) 

(Carroll sits down.) 

(William crosses and draws up chair at back of 
table.) 



136 THE MAN YOU LOVE 

MONROE. 
Where's Gilmore? 

WILLIAM. 
We will proceed without him for a few moments. 

CARROLL. 
You're representing him, Will? 

WILLIAM. 
Yes. 

MONROE. 
Well? 

WILLIAM. 

I understand you insist upon pushing these 
charges. 

MONROE. 

I have insisted from the very start. 
WILLIAM. 

And you intend to push the case through to the 
end. 



ACT IV 137 

MONROE. 

That's up to the owners of the Western. 

WILLIAM, 

They are willing to settle out of court, on a cash 
basis. 

CARROLL. 

How do you know that, Will? 

WILLIAM. 

From a reliable source. 

MONROE. 

Perhaps you're right. 

WILLIAM. 

I want to induce you to change your mind. — Gil- 
more isn't a bad sort. 

MONROE. 

As a railroad man, he's one of the best ; but dab- 
bling in other people's money is out of his line, and 
it isn't my fault he's finding it out. 

WILLIAM. 

Do you realize what unhappiness will be caused 



138 THE MAN YOU LOVE 

to a wife and two innocent girls because of your 
attitude? 

MONROE, 

I'm not to blame for that. 

WILLIAM. 
You could avoid it. 

MONROE. 

Theft is theft, and if sympathy for wife and 
family is omitted from cases like this, we will be in 
a way of enforcing law and order, and thus bring 
about a higher standard of citizenship. 

WILLIAM. 

I don't doubt but what the application of that 
principle in all cases would result in what you say, 
a higher citizenship. But citizenship afifects the 
nation at large. This case affects the home. If 
Gilmore and the rest did wrong, what does the 
wrong really amount to, when you figure it all out. 
A few thousand dollars were taken, and from a 
corporation. 

MONROE. 

Such socialistic twaddle is undermining our na- 
tion, young man, and the sooner you discard such 
ideas, that it isn't really wrong to steal from a cor- 



ACT IV 139 

poration, the sooner you will be in a way of ele- 
vating yourself in the minds of thinking people. 

WILLIAM. 

You misunderstand me, Mr. Monroe. What I 
mean is that no one was injured by Gilmore's action. 

MONROE. 

The community at large suffered a gross and 
irreparable injury in having held up to esteem and 
respect a man who broke that community's faith in 
him. 

CARROLL. 

It is useless to argue with President Monroe, 
Will. I know you cannot change his mind. 

MONROE. 

That is quite impossible, I assure you. 

WILLIAM. 
Then you absolutely refuse to drop the case? 

MONROE. 

Absolutely. If you have nothing further to ad- 
vance in the matter, you have wasted my valuable 
time. 



140 THE MAN YOU LOVE 

(Rises.) 

(To Carroll.) 

Come, Carroll. We'll be going. 

IVILLIAM. 

Just a moment. I have something further to say. 

(Monroe regards William and again seats him- 
self. 

MONROE. 

What is it, young man ? 

WILLIAM. 

(To Monroe.) 

I have been investigating a fraud case, Mr. Mon- 
roe. 

MONROE. 

(Calmly.) 

Yes. 

WILLIAM. 

The other day, in the course of my work, my in- 
vestigation took me to the Newell Repair Company. 



ACT IV 141 

MONROE. 

(Interested.) 

Yes. 

WILLIAM. 

I learned that Blake, the supposed owner of the 
Newell concern, is only a figurehead. 

MONROE. 

(Slightly worried.) 

What are you driving at? 

PFILLIAM. 

That Gilmore and Murphy and Simms have been 
the pikers, the small grafters in this repair shop 
scheme. 

MONROE. 

(More worried.) 

I don't understand. 

WILLIAM. 

I mean that a man higher up has used these three 
men as the means whereby he got thousands where 
they got only dollars. 



142 THE MAN YOU LOVE 

(Stops abruptly.) 

Oh. I quite forgot about Gilmore. I'll call him. 
(Exits abruptly and hurriedly, right.) 
MONROE. 

(Looks after William excitedly, then when Wil- 
liam is out of the room, he turns to Carroll.) 

(Excitedly.) 

They're on to me. 

CARROLL. 
Don't get excited. Young Worthing is bluffing. 

MONROE. 

He can't be. He knows that Blake is a figure- 
head. He mentioned a man higher up. I'd better 
agree to drop the case. 

CARROLL. 

No. Don't do that. Don't lose your nerve. The 
fact that you've insisted the case be tried has put 
everybody off the track.. That has been your best 
move. 



ACT IV 143 

MONROE. 

(With great agitation.) 

But suppose they prove In open court that I am 
the owner of the Newell Company. I couldn't 
cover it up then, and they'd land me with the rest. 
Think of it, they'd put me behind the bars and I'd 
be disgraced, ruined! 

CARROLL. 

If young Worthing knew that you are the real 
owner of the Newell Company, do you suppose he 
would have wasted time pleading for Gilmore? 
He's guessing, I tell you. Stick to your original 
plan. See that the case goes through. 

MONROE. 
Perhaps you're right. 

CARROLL. 
Calm yourself. Some one's coming. 
(Pause.) 

WILLIAM. 
(Enters center.) 

Mr. Gilmore will be here in a moment. 



144 THE MAN YOU LOVE 

CARROLL. 

You spoke of a man higher up, Will. Who is he? 

MONROE. 
(Has recovered his composure j somewhat.) 
Yes. Who is he? 

WILLIAM. 

The same man who speaks of law and order and 
citizenship; of injury to the community because of 
breach of faith. 

MONROE. 

Why, what do you mean? 

WILLIAM. 

I mean that you, Monroe, you, w^ho preach high 
ideals and lofty principles, are the real owner of 
the Newell concern and have stolen thousands upon 
thousands from the railroad of which you are the 
esteemed and respected president. And you, the in- 
stigator, the principal profit maker of the repair 
shop graft, would. In order to cover up your own 
tracks, wreck the happiness of the wives and chil- 
dren of the men who have been your tools. 



ACT IV 145 

MONROE. 

(Very excitedly.) 

Every word you're saying is a lie! 

CARROLL. 

On behalf of President Monroe, I demand you 
withdraw such false accusations. 

WILLIAM. 

(Crosses to center exit and calls.) 

Heme. 

(Rings hall bell.) 

(To Monroe.) 

This afternoon I was reasonably sure that my 
claim is true. I 'phoned you. You consented to 
come, which convinced me I was right. You wanted 
to find out what I knew. I'm glad you came, be- 
cause you have placed me in a position where I can 
prove everything by your own words. 

(Heme and Stone enter center.) 

(To Carroll and Monroe.) 

This is Mr. Heme. And this is Mr. Stone. 
Both are Pinkerton detectives. 



146 THE MAN YOU LOVE 

(Monroe is startled.) 
(To Heme.) 

(Indicates phonograph on table back left.) 
Put the record on. 
(Worthing enters center.) 

(Heme and Stone arrange record on phono- 
graph.) 

(Gilmorej Florence and Mrs. Gilmore enter 
right.) 

(Monroe and Carroll look on startled.) 

PHONOGRAPH. 

They're on to me. — Don't get excited. Young 
Worthing is bluffing. — He can't be. He knows 
that Blake is a figurehead. He mentioned a man 
higher up. I'd better agree to drop the case. — No. 
Don't do that. Don't lose your nerve. The fact 
that you've insisted the case be tried has put every- 
body off the track. That has been your best move. 
— But suppose they prove in open court that I am 
the owner of the Newell Company. I couldn't 
cover it up then, and they'd land me with the rest. 
Think of it, they'd put me behind the bars and I'd 
be disgraced, ruined. — If young Worthing knew 
that you are the real owner of the Newell Com- 
pany . 



ACT IV 147 

WILLIAM, 

(To Heme.) 

That will do. 

(Heme stops phonograph.) 

(Heme and Stone exit center.) 

MONROE. 
(To Carroll.) 
What does this mean? 

WILLIAM. 

(To Monroe.) 

It means you have fallen into the trap I set for 
you ; that when I left this room on a pretext of call- 
ing Gilmore, you and Carroll spoke into a dicta- 
phone attached to that chandelier (Center), and 
connected in a room off the hall. 

MONROE. 

(To Worthing, who stands at center exit.) 

I will withdraw the charges. 

GILMORE. 

(To Monroe.) 



148 THE MAN YOU LOVE 

No you don't. We're going through with this, 
into the courts. 

MONROE. 

(Cringing.) 

Do 3vou realize what this means to me — to you? 

GILMORE. 

You're thinking of yourself, not me. You thought 
only of yourself when you mounted your pedestal 
of righteousness and honesty before the owners of 
the Western by insisting the wrong you claim 
Murphy and Simms and I committed must be 
righted. The wrong! The wrong of enriching 
your pocketbook at the expense of our reputation. 
That's how you would have had it. You'd have 
driven us straight through to hell if you could, to 
accomplish your purpose, but your plan has failed. 
I'll take my medicine, and, by God, you'll take 
3^ours. 

MONROE. 

(To Mrs. Gilmore.) 

Can't you do anything. Can't you persuade him? 

(Mrs. Gilmore regards husband, then looks 
away, but does not speak.) 



ACT IV 149 

GILMORE. 

(To Monroe.) 

(Sadly.) 

Good-night, Monroe. 

(Monroe and Carroll exit center.) 

(Worthing indicates William should go to Flor- 
ence, then exits center.) 

(William crosses to Florence.) 

MRS. GILMORE. 

(Regards husband, then crosses to him.) 

I admire your nerve, your manhood. I love you. 

(They are in each others arms and William and 
Florence regard each other.) 

AS 

THE 

CURTAIN 

FALLS. 



V 



7 



